20 research outputs found
Bernardin’s Coat of Arms in the Parish Church of Grobnik and the Tombstone of Bishop Kristofor Stojković
No full textRaspravlja se o heraldičkoj skulpturi i arhitektonskoj dekorativnoj plastici grobničke župne crkve Sv. Filipa i Jakova. U dinamičnoj slici njezinih pregradnji i dogradnji 16. stoljeća jedan sloj povezuje se s Bernardinom Frankopanom a zatim i s radovima dogradnje svetišta župne crkve istog titulara u Novom Vinodolskom, kao i s tamošnjom nadgrobnom pločom modruškog biskupa Kristofora Stojkovića. Analiziraju se migracije majstora, kulturne i druge veze unutar Vinodola, kao i njegove veze s otokom Krkom, frankopanskim Modrušem i daljim zaleđem. Baština se tumači u kontekstu funkcioniranja kulturnog krajolika tih prostora u razdoblju prijelaza drugog u treće desetljeće 16. stoljeća, osobito u svjetlu djelovanja hrvatskih društvenih elita tog doba.This paper explored the heraldic and architectural decorative sculpture in the parish church of St Philip and Jacob in Grobnik. Against the backdrop of the church’s dynamic 16th-century reconstructions and additions, a particular layer is associated with Bernardin Frankopan and the expansion of the sanctuary in the parish church with the same titular in Novi Vinodolski. The discussion further extends to the tombstone of Kristofor Stojković, Bishop of Modruš. The author examines the migrations of craftsmen, cultural and other connections within Vinodol, as well as ties to the island of Krk, the Frankopan Modruš, and the broader hinterland. This heritage is interpreted within the cultural landscape of those areas and its functioning during the transitional period from the 1510s to the 1520s, with a particular emphasis on the activities of the Croatian social elites of that era
Particle Precipitation Effects on Convection and the Magnetic Reconnection Rate in Earth's Magnetosphere
No full textTerritorial Waters as Ambiguous Legal Concept in International Law
No full textThe legal concept of the territorial waters’ regime was developed for the first time during the 16th and 17th centuries, a period of time that coincided with the formation of the system of independent states with defined territories, which were generally characterized by the ability to possess certain rights to regulate according to national interests the maritime activities developed in the maritime zones near their coastline. During this period Grotius, who is considered among the founders of international law, despite emphasizing that states should not possess sovereign rights over maritime zones, generally accepted the existence of the exercise of jurisdiction over coastal waters by states that could control effectively from the continent these specific maritime zones. At the end of the 18th century, the distinguished author Bynkershoek, while preparing the work De Dominio Maris Dissertation, published in 1702, relied extensively on the basic legal concepts of freedom of the seas and state sovereignty over coastal waters. Vattel, another well-known scholar, in Le Droit des Gens (1758), reflected his reliance on the writings of Grotius, Gentile, and Bynkershoek, underlining that coastal states enjoy sovereign rights over their coastal waters, but must allow the ships of other states to navigate peacefully through these waters. Nowadays, the territorial waters’ regime is considered a crucial concept for the national interest of coastal states. In this regard, due to the importance it represents for coastal states and the international system in general, the legal regime of territorial waters should be analyzed more extensively in order to better comprehend this paramount legal notion. Hence, the main purpose of this article is to analyze the legal concept of the regime of territorial waters within the framework of international law
The Magnetosphere of the Earth under Sub-Alfvenic Solar Wind Conditions as Observed on 24 and 25 May 2002
No full text© 2017 the American Geophysical Union. All rights reserved. On 24 and 25 May 2002, the solar wind density was so low (<0.1 cm-3), that the flow became sub-Alfvénic for intervals that lasted as long as 4 h (the Alfvén Mach number was as low as 0.4). The magnetosphere changed dramatically and (according to simulations and theory) became very asymmetric: The bow shock disappeared and two Alfvén wings formed on the flanks of the magnetosphere (the wings were 600 RE long, the deceleration 30% in one wing and 60% in the other). Geotail's data suggest that it crossed one of these wings multiple times. The magnetosphere was geomagnetically extremely quiet, showed no substorm activity and almost no auroral activity. Simulations show that the closed field line region was very symmetric, extending to 20 RE on the dayside and on the nightside. The open field lines became highly asymmetric: The field lines emanating from the Northern Hemisphere all pointed along the dawn Alfvén wing (around 8:00 LT), the field lines from the Southern Hemisphere all pointed along the other wing (around 22:00 LT). Between 28 November 1963 and 27 September 2015, there were 16 recorded sub-Alfvénic solar wind intervals, lasting for more than 1 h and caused by low solar wind density. Considering the uneven data coverage, these events occur, on average, every 2.2 years.status: Publishe
The magnetosphere of the Earth under sub-Alfvénic solar wind conditions
No full textOn 24 and 25 May 2002, the solar wind density was so low (0.1 /cc), that the flow became sub‐Alfvénic for intervals that lasted as long as 4h (the Alfvén Mach number was as low as 0.4). The magnetosphere changed dramatically and (according to simulations and theory) became very asymmetric: the bow shock disappeared and two Alfvén wings formed on the flanks of the magnetosphere (the wings were 600 Re long, the deceleration 30% in one wing and 60% in the other). Geotail’s data suggest that it crossed one of these wings multiple times. The magnetosphere was geomagnetically extremely quiet, showed no substorm activity and almost no auroral activity. Simulations show that the closed field line region was very symmetric, extending to 20 Re on the dayside and on the nightside. The open field lines became highly asymmetric: the field lines emanating from the Northern Hemisphere all pointed along the dawn Alfvén wing (around 8:00 LT), the field lines from
the Southern Hemisphere all pointed along the other wing (around 22:00 LT). Between 28 November 1963 and 27 September 2015, there were 16 recorded sub‐Alfvénic solar wind intervals, lasting for more than 1h and caused by low solar wind density. Considering the uneven data coverage, these events occur, on average, every 2.2 years.edition: 1status: Publishe
SUB-ALFVÉNIC SOLAR WIND AT EARTH
No full textDuring 24 and 25 May 2002, the solar wind conditions at Earth's orbit were very unusual: the density was extremely low (below 0.1/cc) and, as a result, the flow was subfast and sub-Alfvénic (the Alfvén Mach number was as low as 0.4 in the rest frame of the Earth). Consequently, the Earth's bow shock disappeared and two Alfvén wings formed on the flanks of the magnetosphere. These two long structures (estimated extension of 600 RE for this event) affect the incoming plasma as follows: the velocity is reduced and the magnetic field rotates. In the present study, global magnetohydrodynamical simulations of the magnetosphere are performed for such upstream solar wind conditions. The simulations show how the magnetosphere configuration dramatically changes when the sub-Alfvénic solar wind reaches the magnetosphere: the dayside magnetopause expands up to 20 RE, and on the nightside the position of the last closed magnetic field line diminishes to 20 RE. As a result the closed magnetic field line region becomes very symmetric. The open field line configuration also changes such that field lines emanating from the Northern Hemisphere all point in the direction of the dawn Alfvén wing (around 8:00 LT), while the field lines from the Southern Hemisphere all point in direction of the other wing (around 22:00 LT). During the formation of the Alfvén wings, the tail lobes completely disappeared and the auroral activity greatly diminished, i.e., the magnetosphere becomes geomagnetically quiet.sponsorship: AGS-1143895
SA 1772/1-2
GOA/2015-014
IAP P7/08 CHARM
FWO 12M0115N
PHY-1229408status: Publishe
PAST – PRESENT – FUTURE: SOME ASSOCIATIONS OVER KRLEŽA'S "PROMETHEAN" PLAYS
No full textKrležino pisanje ekspresionističko-pjesničkih (Donat) drama Kristofor Kolumbo (1918.) i Michelangelo Buonarroti (1919.) ide ukorak sa završetkom Prvoga svjetskog rata i poraćem. U svom se izlaganju autorica bavi nekim književnokomparatističkim asocijacijama nad tim djelima u kojima korištenje prometejskih figura (ili tako predstavljenih u dramama) izvire iz općeg veličanja renesansnih genija koji prelaze granice dotad poznatoga svijeta u istraživačkom ili umjetničkom smislu (prošlost).
U kontekstu političkih događanja te šoka nad posljedicama najrazornijega rata dotad poznata Europi pojavljuju se u dramskoj književnosti velike povijesne figure smještene u ekspresionističku poziciju globalne metafore tadanje hrvatske i europske stvarnosti te pobune spram kolektivnoj historiji ali i histeriji gomile prouzročenoj ratnom traumom (sadašnjost onodobnog konca rata/ poraća).
Sama pak prometejska konotacija središnjih likova naviješta ili odražava priželjkivanje ostvaraja novoga doba/svijeta te novih postignuća onih koji ostaju dosljedni svojoj težnji za civilizacijskim napretkom i čovjekoljubljem (budućnost).Miroslav Krleža's (1893-1981) "expressionistic-poetic" (Branimir Donat) plays Kristofor Kolumbo (1918) and Michelangelo Buonarroti (1919) accompany the end of the First World War and the time immediately thereafter. In her paper, the author Peričić discusses literary comparative associations aroused in those works in which the use of the Promethean figures (or presented in the plays as such) may be considered as the general glorification of genious representatives of Renaissance who crossed the boundaries of the world known up to that era – both in the sense of knowledge and in the artistic sense (history/past).
In the context of political events and the shock following the results and consequences of the most destructive war known to Europe until those days, in those plays the great historic figures are put in the expressionistic position to be the global metaphore of Croatian and European reality of the time, and the revolt against collective history, but also against the hysteria caused by the war trauma (actuality/present - characteristic of the end of the First World War and the time thereafter).
The Promethean connotation by itself announces and reflects the coveting for new age/world and new accomplishments of those who remain persistent in their humanistic ambition towards civilisation, progress and altruism (future)
Certain Comments with a Presentation of the Painter BERNARD BOBIĆ IN THE BOOK BAROK U HRVATSKOJ
No full textKao dobar poznavalac opusa Bernarda Bobića, slikara konca 17. st., autor se kritički osvrće na interpretaciju njegova opusa, sačuvanog u Zagrebu, u knjizi »Barok u Hrvatskoj« (Zagreb 1982). Insistira na tvrdnji da se radi o djelu toga umjetnika i donosi nove podatke. Za sliku označenu u knjizi naslovom »Kraljica Jelena pred kraljem Ladislavom« predlaže naziv »Ladislav zaštićuje udovice i siročad«, te skreće pažnju na činjenicu da je on prvi upozorio znanstvene krugove na to da je Bobićev »Sv. Kristofor»
rađen prema slici Jacopa Bassana. Objašnjava također pojavu iskrivljenja grba Slavonije na slici »Hrvatski velikaši pred kraljem Ladislavom«.As a connoisseur of the opus of the late 17th century painter Bernard Bobić, the author provides a critical interpretation of the part of his opus preserved in Zagreb, in the book entitled Barok u Hrvatskoj (The Baroque in Croatia) (Zagreb, 1982). He insists on the assumption that this is the work of this artist, and presents new data. He explains that the painting entitled »Queen Jelena before King Ladislav« is a scene from »Ladislav Protects the Widws and Orphans«, and he draws attention to the fact that he was first to inform scholarly circles that Bobić's »St. Christopher« was painted using a painting by Jacobo Bassano as its model. He also explains the phenomenon of the twisted coat of arms of Slavonia on the painting entitled »The Croatian Nobles before King Ladislav«
Material culture of Križovljan – grad, family Vragović castle (1724. – 1726.)
No full textU diplomskom radu se obrađuje tema materijalne kulture dvorca plemićke obitelji Vragović, smještenog na rubu Varaždinske županije. Istraživanje se temelji na dokumentima iz Državnog arhiva u Varaždinu, točnije popisima imovine nastalima nakon smrti posljednjeg pripadnika obitelji (1724. – 1726.), pri čemu je fokusirano na popis predmeta zatečenih u inventaru dvorca. Analizirana je brojnost, materijal, kvaliteta i boja izrade, te veličina zastupljenih predmeta. U daljnjim koracima razrađen je njihov smještaj u interijeru, odnosno naglašena njihova važnost u rekonstrukciji organizacije stambenog prostora jedne plemićke obitelji. Također, povučena je paralela sa trendovima plemićkog stanovanja u razdoblju XVII. i XVIII. stoljeća na hrvatskom kontinentalnom, ali i širem europskom području. Radom je obuhvaćena i nedovoljno istraživana povijest obitelji Vragović, prilikom čega je naglasak stavljen na usuglašavanje, nerijetko i ispravljanje dosadašnjih navoda u literaturi. Posebno je izdvojeno pitanje identifikacije portreta nepoznatog muškarca iz obitelji koji se čuva u Gradskome muzeju Varaždin. Također, nezaobilazan doprinos istraživanju materijalne kulture pronađen je u ekonomsko – historijskoj analizi križovljanskog posjeda, te osobnih dugova posljednjeg Vragovića kojom se iskazuje namjera rekonstrukcije financijske moći obitelji. Konačna namjera ovoga rada je ukazivanje ne samo na odlike plemićke materijalne kulture tijekom hrvatskog ranonovovjekovlja, nego i na pomalo zaboravljene vrijedne primjere hrvatske kulturne baštine.In this thesis author reveals exploration of material culture in castle Križovljan – grad, founded and inhabited by noble family Vragović in outskirts of the Varaždin county. Study is based upon documents wielded by State archive in Varaždin, better still upon assets inventory originated immediatly after death of the last member of the family (1724. – 1726.), during which it is mainly focused on the list of items present in castle interior. Author analyzes amount, matherial, quality and colour of workmanship, in addition of size of all objects represented on building grounds. Furthermore, it is followed by evaluation of their setting in interior, regarding their importance in reconstruction of historical space organization distinctive for this castle and his noble owners. Also, inventory is compared with general trends of noble habitation found in period of XVIIth and outset of XVIIIth century on croatian continental, and wast european territory. Thesis includes insufficiently explored history of the family Vragović, during which it emphasizes harmonization, even revision of former assertions in bibliography. It specially secludes problem of identification of the portrait that represents unknown family member guarded by City Musem of Varaždin. Also, inevitable contribution for this study of material culture is found in economic – historical analysis of Križovljan – grad estate and personal debts of the last member Kristofor Vragović which reveals intention of reconstruction of his financial power. Finally, the ultimate cause of this thesis is not only demonstration of features characteristic for noble material culture during croatian early modern period, but also of forgotten, but valuable examples of croatian cultural heritage
The Early-Baroque Composer Vinko Komnen (Vincenzo Comneno; 1590-1667) and the Network of his Predecessors and Contemporaries
No full textU članku se istražuju biografski izvori, identitet, bibliografija i glazbena djela dubrovačkog ranobaroknog skladatelja, erudita i dominikanca Vinka Komnena (Vincenzo Comneno; 1590-1667) djelatnog u Dubrovniku, Rimu, Napulju i Španjolskoj, a na temelju novog uvida u kompleksno djelo-zbornik Le glorie cadute (2. izd., Venecija 1663) urednika Lorenza Miniatija. Utvrđuje se Komnenovo autorstvo dviju tekstovnih cjelina u tom zborniku, bibliografski aspekt historiografskih izvora s posebnim obzirom na hrvatske i talijanske autore-prethodnike (E. Kaboga, J. Lukarević, S. Razzi, L. Crijević Tuberon, M. Orbini, V. Pribojević), te umreženost s hrvatskim suvremenicima (Kristofor Ivanović, Ivan Tomko Mrnavić, Rafael Levaković, Toma Jerinić, Vladislav Menčetić i Ivan Dživo Gundulić) i njihova autorska uloga u Miniatijevu zborniku.The article explores the biographical sources, identity, bibliography and music output of the early-Baroque composer, erudite and Dominican monk Vincenzo Comneno (Vinko Komnen; 1590-1667), who lived and worked in Dubrovnik, Rome, Naples and Spain. The research is based on the new insights and interpretations of the complex publication (a kind of Miscellanea Proceedings) entitled Le glorie cadute dell’Antichissima, ed Augustissima Famiglia Comnena, edited by Lorenzo Miniati and published in Venice in 1663, as its second edition.
It has been stated that V. Comneno is in fact the author of two texts included in this publication. Concerning the bibliography of historiographical sources used for genealogical purposes, special attention is drawn to Comneno’s Croatian and Italian predecessors: „Historia di Ragusa del Padre D. Eusebio Caboga …“; „Historia di Ragusa di Giacomo di Pietro Lucari …“; „Historia di Ragusa di Fra Serafino Razzi …“; „Ludouico Cerua, detto Tuberone, Abbate Benedettino“; „Mauro Orbini, Abbate Benedettino“; „Vincenzo Probieuich“ (sic!). In addition, a network of his Croatian contemporaries has been discovered (Christoforo Ivanovich — Kristofor Ivanović, Ioannis Tonci Margnavitius Dalmata — Ivan Tomko Mrnavić, Raffaele Leuakouich — Rafael Levaković, Thomaso Ierinich — Toma Jerinić, Vuladislauo (sic!) Menze — Vladislav Menčetić and Giouanni Gondola — Ivan Dživo Gundulić), who were included in this publication either with their texts or by their names being mentioned on various occasions. Some of them (Ivanovich in Venice, Levakovich in Rome) were also dealing otherwise with musical issues, but not on this occasion.
In the part dealing with music, it has been confirmed that his three madrigals, printed in this publication, have been intended for the wedding of Maria Anna of Austria and Philipp IV, but doubts have been expressed about Comneno’s motives for this gesture. The same is true for his alleged activities as composer of motets and canzonettas, as well as for his skill in playing various musical instruments. The hypothetical musico-theoretical work Annotationes in Geometriam, Arithmetica, Musicam, & Astrologiam, not found as yet, probably conservative in attitudes, might have been used in Comneno’s activities as teacher in the Naples Dominican University during the 1630s and 1640s.
Future analyses and hermeneutical approaches will have a difficult task in trying to distinguish in two ways what is apocryphal in Miniati’s publication Le glorie cadute: firstly, what was written by Comneno himself and what was originally done by other writers (even the music of the madrigals themselves); and, secondly, what is correct and incorrect in various assertions, most important among them being those dealing with his allegedly Comnenian-Byzantine paternal origins
